After discovering that Azrael's blade has been stolen by a human, Lucifer quickly connects it with a string of violent stabbings revolving around a local yoga studio. While Chloe investigates the murders, Lucifer enlists Ella's help in locating the sword to stop the carnage.

Mitchel Broussard

Chris Cabin

The show's creators have replaced the original Lucifer with neither a counterpoint nor an interesting abstraction. Instead, they've simply shaped yet another paean to the perfect dude, who can carry on a lewd, open affair with his psychiatrist, play matchmaker with Dancer and her ex, and solve every major crime that the LAPD is called in for.

Brian Lowry

Lucifer certainly has a sense of atmosphere, and has some fun with little touches like the character’s personalized license plate (FALLIN1, naturally) or inherent dislike of children. Rachael Harris is also a hoot, briefly, as a psychologist who is decidedly not resistant to Lucifer’s influence. Still, it’s hard to think of anything more mundane than having the Devil walking among us, only to turn that into a crime procedural--a slightly sulfurous version of “Bones” or (gasp) “Rosewood.” Subsequent episodes merely calcify that perception.

Vicki Hyman

Dan Fienberg

Lucifer arrives with all of the superficial flash you'd expect from a Len Wiseman-directed pilot. But after falling into the Fox "quirky civilian contractor(s) aid law enforcement" rut, this new drama doesn't begin to show sparks of interest until at least the fifth episode.

Robert Bianco

The show, which glides past its mythology Monday, eventually gets bogged down in it--particularly in a silly B-story built around the Angel Amenadiel’s (D.B. Woodside) attempts to use Lucifer’s bodyguard (Lesley-Ann Brandt) and therapist (Rachael Harris) to lure Lucifer back to hell. Lucifer begins to feel mortal, which is dull, and begins to cross that thin line between amusing and annoying, which is worse.

Matt Roush

David Wiegand

There’s nice but predictable chemistry between Ellis and German, and although Fox only made one episode available to critics, the show’s concept is so obvious, it’s easy to see exactly where this will go, unless it gets canceled first.

Alasdair Wilkins

Jeff Jensen

The conventional crime-time format incinerates everything strange and spirited about the concept, and Lucifer’s cop partner (Lauren German)--the female wet blanket to his male rogue--is a trope that needs to go to hell.

Robert Lloyd

Michael Slezak

The show’s supporting players--in particular, D.B. Woodside’s Amenadiel, sent down from Heaven to insist Lucifer go back from where he came, Rachael Harris as Lucifer’s shrink, and Lesley-Ann Brandt as Maze, Lucifer’s ass-kicking assistant--hint at the possibility of a more interesting show (as does a closing twist in “Favorite Son”). Until or unless the show’s writing staff digs down and explore those darker instincts, however, Lucifer feels stuck in creative purgatory.

Rob Owen

Rob Lowman

Fox’s new comedy-drama Lucifer has a similar premise [as "Death Takes a Holiday and "Meet Joe Black"], but without the sap and more zip and lip. But (and you saw this coming), the devil is in the details.... Uneven but mostly fun.

Gail Pennington

Lucifer is the most accessible [of the twoshows--the other being Syfy's "The Magicians"], mostly because it feels as if we've already seen it before. And we have, one way or another; "Lucifer" feels a bit as if Syfy's fallen-angel drama "Dominion" mated with ABC's "Castle."

Glenn Garvin

Mark A. Perigard

Ellis is a good choice as the season’s biggest anti-hero, deftly playing sarcasm as well as the occasional pathos. As it gets rolling, Lucifer poses some theology-class-worthy questions about the nature of redemption, damnation and duty.

Ken Tucker

Neil Genzlinger

Mr. Ellis was born in Wales, and the creators of this incoherent mess apparently hope that his accent will convey rakishness and arch sophistication. Instead you just want to wipe the perpetual smirk off his face.